The Czechoslovak New Wave was an artistic movement in cinema which evolved out of the earlier Devětsil movement of the 30’s. Disgruntled with the communist regime that had taken over Czechoslovakia in 1948 coup d’état (!), students of the Film and TV School of The Academy of Performing Arts in Prague (also known as FAMU) became the dissenters of their time. Their statement at making films:

‘Make the Czech people collectively aware that they were participants in a system of oppression and incompetence which had brutalized and bureaucratized them all.’

This was partly because of a cultural and political reform that the country had undergone since 1962. During this time the filmmakers of the Czech new wave enjoyed a state supported film industry, an interest in both domestic/international market (special interest in the USA) and relative artistic freedom.

Karel Tiege – Collage 40’s

Trademarks of the movement are long unscripted dialogues, dark and absurd humor, and the casting of non-professional actors. The films touched on themes which for earlier film makers in the communist countries had barely managed to avoid the objections of the censor: playful observation, visual poetry, biting sarcasm, gentle humanism, mocking absurdism, tender eroticism and formal experimentalism.

The Czechoslovak New Wave differed from the French New Wave in that it usually held stronger narratives, and as these directors were the children of a nationalized film industry, they had greater access to studios and state funding.

The Fireman’s Ball , 1967

As Alexander Dubček came to power over the Communist Party in Czechoslovakia with plans to present ‘socialism with a human face’ through reform and liberalization(Prague Spring), the Soviet Union and their Warsaw Pact allies invaded to snuff out reform. The movement came to an abrupt end and Miloš Forman and Jan Němec fled the country; those who remained faced censorship of their work.

One of the most popular Czech Rock bands with links to almost every known prog/jazz from the country, (the) Blue Effect from Prague were formed in 1968 by guitarist Radim Hladík and singer Vladimír Mišík, both from The Matadors.

The line-up included also bassist Jiří Kozel,drummer Vlado Čech and guitarist Miloš Svoboda, who quit the next year. In 1970 they released their psych/blues influenced debut ‘Meditace’ on Supraphon along with the jazz rock album ‘Coniunctio’ in collaboration with legendary ensemble Jazz Q.

The Matadors

At this time Mišík left to join Flamengo, he was replaced by singer/keyboardist Lešek Semelka. Renamed to Modrý Efekt they released their second work ‘Nova Syntezá’ in 1971 on Panton with the outstanding help of the Czechoslovakian Jazz Orchestra. The album shows the band taking a more artistic approach on their music, leaving the psych influences of their debut for a much more jazz-oriented sound.

The 70’s were their most active period, with at least nine studio albums, progressing to fusion/prog tinges, being its last release in 1981. Since 2010 the band was reactivated by Radim Hladík (only original member) and has a very active career.

Modrý Efekt

Let’s go to our album:

An incredible Brass Orchestra with a sharp rock group coming from the Eastern side of Europe. The compositions are long and as the album unfolds, Hladík shows an incredible jazzy background on his guitar solos. The Czechoslovakian Jazz Orchestra seems often the leading force of the album: tons of melodic introductions, interventions and counterpoints performed by a great mass of brass musicians!

After threeMixtapes last year, i was already missing a new one, and you? Whenever we try to do it, we try to leave a distinct mark either in the choice of artists or the era approached, well, this time we’ll leave the extensive biographies and contexts aside, these artists should appear soon in our galaxy, along with their full contents.

BornKovács Katalin, October 25, 1944, Verpelét, Hungary. Singer, Actress, Lyricist, Songwriter. Probably the most famous singer of Hungary, with dozens of recorded albums, awards and presentations indoor/abroad, international recognition and a very active career until today. Hungarian musical critics have praised her raspy and strong voice, calling her ‘The Voice of Hungary’!

Born November 1, 1942, České Budějovice, Czech Republic. Singer, Actress and TV Presenter. She was the most popular female pop singer in Czechoslovakia in late 60’s. In 1967 she won Zlatý Slavík award (Golden Nightingale). Her song ‘Prayer for Marta’ became a symbol of national resistance against the occupation of Warsaw Pact troops in 1968. During the Prague Spring, she recorded over 200 (?!!) single records and one LP, Songy a Balady in 1969, which was immediately banned from stores. In 1970, the government falsely accused her of making pornographic photographs leading to a ban from performing in the country until 1989. (!)

Czechoslovakia. With the collapse of the Habsburg monarchy at the end of WWI, the independent country of Czechoslovakia was formed, encouraged by, among others, U.S. president Woodrow Wilson. The Czechs and Slovaks were not at the same level of economic and technological development, but the freedom and opportunity found in an independent new country enabled them to make strides toward overcoming these inequalities. However, the gap between cultures was never fully bridged, and the discrepancy played a continuing role throughout the seventy-five years of the union.

The first republic led by Tomáš Garrigue Masaryk (politician, sociologist and philopher), a rationalistand humanist, lasted until the German occupation and settled the country in the 10th position of world industrial production. The second and third republic were shortened by the beginning of the communist era, after WWII in 1948.

Prague Nazi Occupation

Then, the economy was committed to comprehensive central planning and abolition of private ownership of capital. Czechoslovakia became a satellite state of the Soviet Union; it was a founding member of the Council for Mutual Economic Assistance(Comecon) in 1949 and of the Warsaw Pact (URSS’s response to OTAN) in 1955. The attainment of Soviet-style command socialism became the government’s avowed policy.

Although Czechoslovakia’s industrial growth of 170 percent between 1948 and 1957 was impressive, it was far exceeded by that of Japan and the Federal Republic of Germany (almost 300 percent). The 1960Constitution declared the victory of socialism and proclaimed the Czechoslovak Socialist Republic.

De-Staliniziation had a late start in Czechoslovakia, in the early 1960s, the economy became severely stagnant, the industrial growth rate was the lowest in Eastern Europe. As a result, in 1965, the party approved the New Economic Model, introducing free market elements into the economy. The KSČ(Communist Party of Czechoslovakia) ‘theses’ of December 1965 presented the party response to the call for political reform.

Alexander Dubcek

Democratic centralism was redefined, placing a stronger emphasis on democracy. The leading role of the KSČ was reaffirmed but limited. On January 5, 1968, the KSČ Central Committee elected Alexander Dubcek, a Slovak reformer, to replace Novotný as first secretary of the KSČ. The most turbulent period since the war had begun, amongst the wanted reforms were the press freedom, the end of political monopoly (from Communist Party), the free party organization, religious tolerance, amid other measures that pointed to a radical democratization of Czechoslovakia.

The massive support from intellectuals, the society and countries like Yugoslavia left the URSS fearful with the end of their hegemony and in August 20, 1968, after refusing to attend a meeting at the Warsaw Pact.

These same troops from the alliance invaded the city of Prague, Dubcek was arrested and brought to Moscow, along with other Czech leaders.

Prague Spring

The following months were marked by the peaceful resistance to the occupation from the population. Local radio broadcasts were brief stimulating resistance. Days after the seizure of Prague, was triggered a general strike. The USSR tried unsuccessfully to arrange a collaborationist government, but the solidarity with the old leadership had become widespread. Dubcek returned to Prague and still remained for some time in office. But the reform plan was dropped in exchange for the withdrawal of troops.

In January 1969, a young man immolated himself publicly in the Czech capital, restarting a wave of demonstrations. But by that time, the hard-line Communist Party had recomposed. The favor of rapprochement with the USSR again took control of the party. The election of Gustáv Husák, in April 1969, which succeeded Dubcek, ended the short but significant movement known as the Prague Spring. The reforms would come just two decades later, with the crisis of the socialist bloc. (!)

21 Srpen 1968, Praha

Let’s go to our history:

In 1969, long-time collaborators Jiri Cerha and Ladislav Kantor had the idea to get together talented vocalists for a multi-timbered vocal ensemble, and so was born C&K Vocal. At first their style was folk-based and they often participated at folk and country festivals. By 1973 though, with their new concert repertoire, they started exploring rock. The line-up included Lubos Pospisil, Zdena Adamova, Milena Cervena and Helena Arnetova besides the two co-founders.

In 1976 they released an english Lp called Generation, which was mostly comprised of unique covers of rock artists such as Uriah Heep, Flamengo and Marek Grechuta. The czech version was released a year later containing a considerable number of originals as well. The style was hard prog, quite similar to Flamengo but with voices replacing saxophones and strings/synths replacing hammond.

Early C&K Vocal

The prog influence was likely brought to the band by guitarist Ota Petrina, who was a co-writer and producer and also the leader of the instrumental segment which included top Czech musicians such as Pavel Fort, Guma Kulhanek, Jan Kubik and Anatoli Kohout. During the late 70’s and early 80’s the band focused on audio visual programs, combining music with photography, visual arts and film. They also recorded a considerable amount of singles and another english-sung Lp Growing Up Time.

During the late 80’s they recorded two more albums, Balada o Zemi (1985) and Causa Krysar (1989), the latter of which had a modernized 80s new wave sound but also abundant symphonic elements. Ladislav Kantor left the ensemble in 1990, but despite this they have still been sporadically active.

Multi-Arts Ensemble

Let’s go to our album:

Today’s record will leave the fans of coral and vocal techniques much impressed. With a large range of influences such as rock, prog, soul, jazz, latin tinges, ballads and an incredible backing band this is one of the musical gems that the Iron Curtain hid in those days. Czech Republic has also a distinct mark in terms of arts: the Czech new-wave cinema, Franz Kafka, Gustav Mahler, Antonín Dvorak and many Cubist, Abstract and Surrealist painters, are just a few names of this underestimated society.

The ‘IM’ highlights are for: Rám Příštích Obrazů, a fantastic opening track, delivering complex harmonics in a carrousel of voices and soulful breathtaking conclusion, just brilliant! And Doky, Vlaky, Hlad A Boty, with resemblance of Flamengo’s sound (a dedicated post of them will be held), this brass-rock got some psychedelic riffs, sweet breakbeats and a wholly tuned vocal performance.

CC

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Bhagavata Purana (9th / 10th Century)

"While Dhruva Maharaja was passing through space, he saw, in succession, all the planets of the solar system, and on the path he saw all the demigods in their vimanas showering flowers upon him like rain...
He traveled in that way through the various planets, as the air passes freely in every direction. Coursing through the air in that grand and splendid vimana, which could fly at will, he surpassed even the Devas."